Antoine-Louis Barye

Georges Blache, Hotel Rameau, Versailles, 3 December 1978, no. 40

Overall the condition of the bronzes is good with minor dirt and wear to the surfaces consistent with age. There are a few nicks. There are a number of small casting flaws, including a few lacunae to some of the candleholders. The bronzes are cast in sections and joints are visible. Some of the sections are currently loose, but could be tightened.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the nineteenth century, decorative bronzes were most commonly produced anonymously by large foundries: they were considered the concern of designers, not artists. However, Antoine-Louis Barye, the eminent French animalier sculptor, along with fellow animalier sculptor, Cristophe Fratin, disregarded the prejudices associated with the genre and created a body of work that today comprises some of the most important decorative objects from the nineteenth century.  

Barye designed over forty decorative objects during his esteemed career. In these, he incorporated his highly technical skills as an animalier and sculptor of figurative subjects. In the present sculptures, a snake coils its way up the stem of each candelabra, while three small tortoises support the bases. These tortoises are models from Barye’s period at the goldsmith’s, Fauconnier, while the parrot that perches on the top of each candelabra is another independent model from the artist’s oeuvre. These elements demonstrate the extraordinarily sensitive and accurate detail with which Barye renders animals. The tough looking texture of the snake’s scaly skin contrasts with the smooth, fragile poppy leaves. The parrots extend their wings to display their elaborate plumage. The heavy load on the tortoises’ shells wittily suggests their slow and cumbersome temperament. The actual candle holders are modelled as poppy heads. Though the ornate and sumptuous decoration of the present work is Rococo in style, the organic naturalism of the casts looks forward to the Art Nouveau.

Barye’s delicate descriptive details in the present sculptures are precisely what distinguishes his decorative objects from the anonymous pieces being produced by the large foundries of the time. All of the individual personality and skill of the artist is evident in these masterful models of decorative art. Fine casts of these models are in the Musée du Louvre (inv. no. OA 5869a and OA 5869b) and were part of an exhibition of the Galeries nationales du Grand Palais Paris (op. cit.).

RELATED LITERATURE
D. Alcouffe et al., Un âge d’or des arts décoratifs 1814-1848, exh. cat. Réunion des musées nationaux, Paris, 1991, pp. 445-446; S. Pivar, The Barye bronzes, catalogue raisonée, Woodbridge, 1981, cat. no. D8, pp. 255; M. Poletti & A. Richarme, Barye, catalogue raisonné des sculptures, Gallimard, 2000, pp. 377-378, no. D 11